A FABER MUSIC MAGAZINE FOR PIANO TEACHERS

SUMMER 2008

Me And My Piano New Edition A new look for the classic piano tutor

Joanna MacGregor treads Unbeaten Tracks Anthony Williams trawls the best exam repertoire Enchanting new books just for kids!

Jazz chords explained: John Kembers Jazz Piano Player Sight-reading the musical way with Christine Brown

PLUS FREE MUSIC SAMPLES LATEST NEWS NEW PUBLICATIONS

WELCOME

Editors letter
Welcome to the second issue of Pianofforte, the magazine for piano teachers from Faber Music.
Pianofforte gives you the chance to find out more about our composers, hear viewpoints on piano teaching issues and keep up-to-date with our latest news and publications. Many of our best-loved educational writers contribute, including the teaching legend Fanny Waterman, the ever-prolific Pam Wedgwood and concert pianist Joanna MacGregor. Features in this issue include Christine Brown on the musical way to approach sight-reading and John Kember providing easy ways into jazz. We unveil a new edition of one of the worlds favourite piano tutors, Dame Fanny Watermans Me And My Piano, talk to Pam Wedgwood about arranging pop and jazz music for education, and find out why arrangements of classics are included in the new ABRSM piano syllabus for the first time. Paul Harris offers top tips for teaching beginners, Anthony Williams trawls the exam syllabuses for the best quality repertoire past and present, plus we have some great new ideas for motivating beginners, particularly boys, with our new Just for Kids series. Whatever your level and style of teaching, were sure youll find something of interest. Our first issue of Pianofforte was welcomed by teachers and we received some fantastic feedback. I am so enjoying Pianofforte! Thank you so much. It is full of excellent new ideas and interesting articles, said one teacher. We hope Pianofforte will offer you some new avenues to explore. If you have any news youd like to share with us, or feedback or contributions for the next issue, please let us know! The Faber Music Team

Contents
News
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Dame Fanny Watermans Me & My Piano a new edition . .4-5 Joanna MacGregor treads Unbeaten Tracks
Every effort is made to ensure that information contained in this magazine is correct at the time of going to press. Prices, availability and album contents are subject to change without notice. Head Office Faber Music Limited, 3 Queen Square, London WC1N 3AU Tel: +44 (0)20 7833 7900 Fax: +44 (0)20 7833 7939 information@fabermusic.com Distribution Centre Faber Music Limited, Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX Tel: +44 (0)1279 828909/29 Fax: +44(0)1279 828990 marketing@fabermusic.com www.fabermusic.com Editors: Leigh Rumsey & Janella Sillito Designer: Dave Warden
07/08

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Christine Brown on Play At Sight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Forgotton favourites: Anthony Williams trawls the best exam repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-9 Something a bit different: Chill Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Something a bit different: Just For Kids Free Music Samples
. . . . . . . . . . . . . . . . . . . . . . . .10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11-14

Teaching beginners: Paul Harris is here to help . . . . . . . . . . . . . . .15 Discovering the classics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16-17 Pam Wedgwood: Its all in the arrangement Pam Wedgwood: New publications New and recent publications
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Jazz chords explained by John Kember . . . . . . . . . . . . . . . . . . . .20-21

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Faber Music: Find out more . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

02

NEWS
again awarded to the publisher judged to have demonstrated outstanding service in respect of the quality and price of the companys publications, the efficiency of customer relations and the quality of its marketing materials and product information. Faber Music also picked up the Best Educational Publication award for The Language of Song, a highly successful series of graded songbooks with CD, which help students to sing in foreign languages.

Photo: Phillip Littlemore, Sales & Marketing Director, accepting 'Printed Music Publisher of the Year' award).

Faber Music breaks industry award records

Faber Music scooped the prestigious MIA Music Award for Printed Music Publisher of the Year for the fourth consecutive year at the MIA awards ceremony back in October 2007. The MIA (Music Industries Association) Awards recognise best-selling products, cutting edge innovations, top individuals and leading organisations. The awards are recognised throughout the music industry as badges of excellence. This particular accolade carries a great deal of weight, as it is voted for by retailers, and was

New composer websites

We are pleased to announce that you can now keep up to date with Faber Music composers Pam Wedgwood and Paul Harris through their new websites www.pamwedgwood.com and www.paulharrismusic.com. Find out about the latest publications, news and events, discover teacher training opportunities, ask Paul or Pam a question and more.

Reader offer
Pianist magazine
Pianist is a magazine for people who love to play the piano whether youre an amateur, an advanced player, or someone who is returning after years of neglect. Youll find 40 pages of music scores inside every issue, graded by ability, covering everything from classical pieces through to jazz and pop standards. Plus, youll find tips on technique, a free tutorial CD with each issue and features on some of the worlds greatest performers, as well as lots of other news and views from the piano industry. Faber Music have teamed up with Pianist magazine with a special offer for Pianofforte readers to receive a free copy of Pianist! To claim your copy write to Pianofforte reader offer, Pianist Magazine, Warners Group Publications, Fifth Floor, 31-32 Park Row, Leeds, LS1 5JD or email: lroberts@writersnews.co.uk quoting: Pianofforte reader offer.

Dame Fanny Waterman to appear at EPTA Conference

Dame Fanny Waterman has achieved legendary status not only as a piano teacher and co-author of the Waterman/Harewood Piano Series, but also as founder and organiser of the prestigious Leeds International Pianoforte Competition of which she is Chairman and Artistic Director. She will be speaking on My Life Of Teaching at this years EPTA (European Piano Teachers Association) conference, which will take place in Liverpool, the European Capital of Culture 2008, on Monday 28th July Thursday 31st July at Liverpool Hope University. (Further information: admin@epta-uk.org)

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FEATURE

Me And My Piano
A new look for the classic piano tutor
Dame Fanny Waterman is a living legend in the world of music, a teacher of international renown, an internationally respected clinician and adjudicator and co-founder, with Marion Harewood, of the prestigious Leeds International Piano Competition. She is also the author of over 30 piano teaching books, including the world-famous Me and My Piano series which this summer is published in a New Edition.
Dame Fanny Watermans reputation as a piano teacher needs no introduction; she has become one of the most outstanding and sought-after piano teachers of our time. Her extraordinary success stems from her concentration on security of technique placed at the disposal of imagination and musicianship. One of her secrets has been to convey to her pupils a sense of excitement by working through their imaginative abilities from the start. Fanny Waterman has had a long association with Faber Music and has now written over 30 piano teaching books, enabling teachers and pupils to benefit from her unique approach. This association resulted from a fortuitous meeting with composer Benjamin Britten in 1965, who suggested she write a tutor for his new publisher! This tutor became the hugely successful Piano Lessons series. Following this she decided to set about creating a starter series for young children Me and My Piano; books that would embody the inspiration and sense of adventure that characterises her own teaching approach. Me and my Piano has gone on to be one of the most widely-used piano methods in the world, selling over half a million copies worldwide. It has become a favourite with generations of teachers and their pupils. Teachers welcome the way it has been so intuitively designed for the needs of the younger beginner, with a thorough approach and carefully planned pace of progression. Fanny Waterman knows exactly how to introduce new concepts at exactly the right time and uses tunes that are already familiar to children, so they can use what they already know and enjoy as a reference to learn even more. Children instantly respond to the imaginative approach and sense of fun and adventure, all brought to life through brilliant colour illustrations and characters, enjoyable music, songs, rhymes and stimulating activities and exercises. Fanny Waterman has had a long and distinguished career as a teacher and all her teaching materials have been used by her pupils. Talking about her books she said I developed this series at the beginning of my teaching career, when I was privileged to teach five brilliant prodigies all aged under fourteen. These young pianists performed with Sir Malcolm Sargent, Sir John Barbarolli, Sir Charles Groves, Sir John Pritchard, Norman Del Mar and Giulini at The Royal Festival Hall, The Royal Albert Hall and international festivals including Edinburgh, Aldeburgh and Harrogate. All of these pupils used my teaching materials; all my tutor and repertoire books were, and still are, the bedrock of my teaching. This summer Me and My Piano will be published in a new edition. This new edition retains all the quality teaching material and engaging colour illustrations of the original, with a fresh new look, improved presentation and complete new music setting. The new edition of Me and My Piano Part 1 is published in June, with the remaining books publishing in September.

When I devised this series, I intended to create a method that would have long-lasting success. I am delighted that it is now more widely used and relevant for todays piano teachers and young pupils than ever before.
(Dame Fanny Waterman)

Me and My Piano is perhaps the most imaginative introduction to piano playing that I have seen. Not only is it colourful and delightful to look at but it treats the difficulties as exciting adventures.
(Murray Perahia)

This new edition has a clarity and precision of appearance which is appealing and inviting to the young pianist. They will be inspired to keep turning the pages. The typography is easy on the eye and the wording is concise and to the point I would recommend this tutor to all teachers because it embodies the fundamental essentials of learning to play the piano well and with musicianship
(Elizabeth Wood, Piano Teacher, Berwickshire)

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FEATURE

Me And My Piano New Edition

G New larger size G Improved layout makes pages easy-to-read G A clean and clear look, with complete new music-setting

and typefaces
G Beautifully illustrated on every page; the much-loved

original colour illustrations have been enhanced and reproduced in even higher quality
G Part 1 and Part 2 now published in full colour throughout

for the first time

G The instantly recognisable cover designs have been

updated for extra vibrancy

G New edition of Animal Magic now included within the

series, providing appealing support material

5 M&MP_Pt1_0

15/5/08

11:11

Page 3

Always
Play with clean fingernails. hands and short middle of stool is in the the chair or piano Check that right height. the at and the keyboard ht back. straig a with correctly, you are sitting Make sure Play with curve d fingers, like this:

The musical alpha bet has seven letters, just as the rainb ow has seven colours. These seven letter s are repeated all the way up the piano keyboard.

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&MP_Pt1_05

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15/5/08

11:11

Page 9

note

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Middle C

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Find Middle C
From Middle C, climb up the musical rainbow, naming each note aloud as you go. At the play another C, top, then climb back down, naming each note. Now you have playe d an octave. Use any finge r you like.

Three blind mic e

Here are the first notes of Three blind mice: E D C, E D C, G F E, G F E. Play them on the piano.

Crocodile

Frog hops
a piece. time you play fingering every Use the same memory. you to play from This will help ld be beautiful. on the piano shou play you Every note Listen carefully. Play every D from the bottom to the top. Then every E, then F, G, A and B. Now you are back to C!

Word game
Can you play these words?

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How you smile,

a mile. run Ill If you move

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Moderato
1

Me and My Piano Part 1 0-571-53200-4 Me and My Piano Part 2 0-571-53201-2 Me and My Piano Repertoire 0-571-53202-0 Me and My Piano Duets Book 1 0-571-53203-9 Me and My Piano Duets Book 2 0-571-53204-7 Me and My Piano Superscales 0-571-53205-5 Me and My Piano Animal Magic 0-571-53206-3

Hap - py

1
to

5.95 5.95 5.95 5.95

5 3

birth day

you,

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birth -

day

2
to

you,

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day

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birth

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5.95 5.50 5.95

Moderato

3 2 5

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27
Happy birthday

On Piano Teaching & Performing (New Edition)

A fascinating insight into Dame Fanny Watermans teaching approach and the fundamentals of playing technique and musicianship. This book distills the knowledge and experience of a legendary teaching career that spans over 65 years. Originally published in 1983, this new edition has been updated to reflect Dame Fannys more recent experiences with extra material including a chapter on international competitions. Inspiring thoughts and advice not just for pianists but for all musicians. As a sure guide to every aspect of teaching and performing, this book is a gem Dame Janet Baker CH DBE Compulsory reading for every practising musician and teacher Link Magazine

On Piano Teaching & Performing 0-571-52519-9

6.95

05

FEATURE

Unbeaten Tracks
A Voyage Of Discovery
Playing the piano is like getting on a train and going on a journey discovering new soundworlds, taking risks and being introduced to new ideas. so says internationally-renowned pianist Joanna MacGregor in the preface to her collection of contemporary piano pieces Unbeaten Tracks.
And what an eclectic journey it is! In this book there are sad pieces, funny pieces and pieces that are jazzy, heroic and poetic. Each piece is illuminated by the composer biopics at the beginning of the book to further inspire the pupil and provide some context for the piece, such as where the composer lives, their inspiring pieces and individuals, favourite film and book as well as the story/feeling behind their composition. The theme of travel is continued through the nationalities and influences of the 12 composers brought together in this collection. Joanna MacGregors own piece Lowside Blues explores the full range of the piano and was inspired by a summer drive up Highway 61 through Louisiana and Mississipi. Another American contribution is the highly syncopated Frumba by New Orleans pianist Tom McDermott. And Australian composer Padma Newsomes The Tides of Washington Bridge depicts the late-night sounds of the George Washington Bridge over the Hudson river, as heard from a New York apartment in late summer. Moving continents, the music of Australian composer Peter Sculthorpe is influenced by the Australian indigenous chant, Gregorian chant, Indonesian music and birdsong. His Little Passacaglia is a tender, melodic piece. In contrast, fellow Australian Matthew Hindsons jaunty Silent Movie transports us back to the era of the silver screen, but with a contemporary twist. Closer to home, Steve Lodder is a pianist, keyboard player, composer, and producer based in London. His piece in which Carlos avoids getting upset has a rhythmic, jazzy feel with a touch of Latin. Jazz saxophonist Andy Sheppards lilting On the edge of a perfect moment requires the player to give meaning to the inside of each note play it with feeling and communicate this to the listener. And British guitarist and composer John Parricellis One for Toninho features a driving left-hand groove inspired by the Brazilian guitar player of the title. Many of the pieces in the collection are characterised by the descriptive nature of their titles. In Kathy Hindes Meteor Shower players are encouraged to imagine a shower of meteors entering the earths atmosphere and leaving beautiful streaks of light behind them, before disappearing all together. Matthew Bournes Indians has an improvisatory feel, while female pianist and composer Tomoko Mukaiyamas Cat and mouse explores the relationship between these two creatures, though you never know who is chasing who! Undoubtedly the most avant-garde piece in the collection is Peter McGarrs Eleven nights with Glenn Gould which requires the player to whisper in the style of Inuit throat-singing, imitate a drum kit and buzz like a vacuum cleaner as well as miming and playing the mouth organ! Clearly there is much in this diverse collection to appeal to intermediate pianists, and get their imaginations (as well as their fingers) working...

The works provide a very wide range of mood, character, sounds and atmospheres while not being too technically demanding Joanna is thereby encouraging teachers and students to enter the 21st century with ease and, most importantly, with fun A must have .. The pieces present a very accessible face of contemporary repertoire. An excellent collection instigated by an indefatigable contemporary piano advocate.
(Piano Professional (EPTA), April 2006)

Unbeaten Tracks 0-571-52409-5

8.95

06

Photo: Peter Williams

FEATURE

Play At Sight
Christine Brown unravels the complexities of sight-reading
Christine Brown has a distinguished career as a teacher, pedagogue, performer, composer and adjudicator. She is well-known through her teaching publications and has lectured widely to piano teachers in the UK, Korea, Cyprus, Singapore, Hungary and the USA. She has always been a great advocate of helping pupils enjoy their practice through being efficient and proficient sight-readers and her new book Play At Sight provides a progressive course to help pupils acquire these vital skills.
Why do the very words sight reading strike fear in many pupils? One reason is that reading at sight a page of music, even at an elementary level, is a very complex process much more complex than reading a page of words and it has to be done in strict time! However those who can read with ease are able to learn a wider repertoire and explore music on their own. They are also able to take part in ensembles, which provides motivation for further musical progress, and they can continue to learn new pieces when their lessons cease. Play At Sight provides a systematic and progressive course designed to help pupils to acquire these skills. Reading at sight demands a physical response to a visual symbol, so that the signs on the copy are translated into sounds. Some pupils are much quicker at making this response than others, but all can improve if the necessary skills are developed. Knowledge of notation is therefore our starting point. In Part 1 of the book the range of pitch is intentionally small and different note values are introduced gradually. It is often helpful to isolate pitch and rhythm so the pupil is advised to clap the rhythm and then to sing or say the names of the notes before playing the pieces on the piano. The range of pitch is gradually widened in Part 2, but the pieces revert to a five finger position in Part 3 when the pupil is first required to play with both hands together. The second essential skill is knowledge of the keyboard, because if the pupil looks down at his hands he will lose his place on the copy and continuity will be lost when he plays. All the pieces in Part 1 are in a five finger position to enable the pupil to follow the Golden Rule Eyes on the Music and much advice is given when extensions are introduced. The third skill for successful reading is technique adequate to the task. Pieces selected for sight reading must be well within the pupils technical powers so that he or she can keep going in strict time and derive some pleasure from the activity. The choice of material is therefore crucial to the enterprise and Play At Sight provides carefully graded pieces to build confidence. The ability to grasp time patterns within a steady pulse is the fourth skill required for good sight reading. Work is required to help the pupil to see time patterns as units not as individual notes, just as in learning to read he comes to see words as a whole and not as individual letters. This skill is developed throughout Play at Sight in the clapping duets and exercises as each new time pattern is introduced. The final essential skill is the ability to memorise, because the good reader is always memorising a bar or two ahead. Pupils are encouraged to develop this short-term memory by memorising a bar or two showing in the window of an envelope and then play it when the book is closed. Unfortunately, there are no short cuts for making a pupil into a good reader the ability requires regular work on systematically graded material. But Play At Sight provides a weeks work on each page so pupils establish the excellent habit of reading something new every day, and they will soon begin to find pleasure in their increasing progress at reading music at sight.

An excellent book for any beginner pianist wanting to improve their sight-reading skills and for any teachers who would like to understand what is involved in good sight-reading. Christine Brown inspires confidence with her contention that all can improve if the necessary skills are developed and goes on to prove it with her 4-part book.
Music Teacher, February 2008

Play At Sight 0-571-52506-7

7.95

07

FEATURE

Forgotten favourites
Anthony Williams trawls the syllabuses of the major examination boards for quality repertoire, past and present
What a wonderful feast of repertoire there is for the piano and for young pianists. There is so much excellent music written by composer/teachers from Bach to Barrett, encompassing an enormous range of styles and character, offering huge musical rewards and, most importantly, nearly always with apt, imaginative and descriptive titles.
But what happens to this vibrant and exciting repertoire when it is set for an exam? For some strange reason it undergoes a metamorphosis and is reduced to a letter and a number. How often, when an examiner asks what piece a student is about to play, is the answer A1, B2 or even C6!? The idea of a wonderful piece of music being reduced to an item on a list does produce an unexpectedly large impact on students, parents and teachers. Piano students talk about certain repertoire as exam pieces, parents complain that their students have only learnt exam pieces and teachers often ignore recently set exam repertoire as if it were second rate. Yet this is often some of the very best and most engaging teaching repertoire, unfortunately now devalued and perhaps ignored except (apparently) to torture those aspiring to the next grade. How far from the truth this is however; repertoire chosen for exams is rarely, if ever composed for this purpose. In fact, as a selector of repertoire for the ABRSM syllabus and for these volumes, I know that the choices represent weeks of dedicated and enthusiastic trawling through volumes of pieces at all levels, considering which pieces would attract what type of pupil and trying to find the most imaginative, attractive and playable repertoire at a particular level. Far more time is devoted by the selectors (themselves teachers) to choosing suitable repertoire than most busy teachers are likely to have spare and, on top of it all, is the responsibility of knowing that if they get the choices wrong, their own pupils will be the first to complain! My mission then, in putting together the exciting and vibrant Best of Grade books, was to demonstrate that amidst the huge repertoire lists of previous exam years are some of the best, most attractive, exciting, vibrant, beautiful and fun pieces composed for young pianists from across the centuries. From a Bach Minuet to The Swinging Sioux it is music to inspire and motivate young and old(er) pianists alike. There are some memory lane pieces for teachers to reminisce over (I remember playing Soldiers in the Distance for my Grade 4, I loved it!), some Top of the Pops from more recent years and not an A1 or B3 in sight.

My pupils became quite excited at testing the books to see if their particular past exam favourites matched up with those of Anthony Williams and each time they did!
(Music Teacher Magazine, March 2008)

These are the pieces that everyone would have chosen .... very good value for money
(Music Teacher Magazine, March 2008)

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PUBLICATIONS

FEATURE

The Best Of Grade 1 Piano

Sonatina in F (Attwood); Menuet in G (attrib Bach); Quasi Adagio (Bartk); Air from Little Russia (Beethoven): Air (Blow); Flying Above The Clouds (Bullard); The Swinging Sioux (Gillock); Creepy Crawly (Gritton); German Dance (Haydn); The Quiet Wood (Head); Piano Piece For The Young (Henkel); Eeyores March (Jackson); Allegro in F (Mozart); Menuett in F (Mozart); Allegretto (Neefe); Air (Purcell); Melody (Schumann); Soldiers March (Schumann); Gavotte (Telemann); Allegretto in F (Witthauer).

Looking for something a bit different?

Great new ideas for all piano lovers
The choice of repertoire for teenagers and adults at a more advanced stage can be daunting. Plus the hustle and bustle of life leaves little room for relaxation, let alone practice! The Chill series therefore aims to offer a momentary escape, whilst introducing the works of the great composers at the same time. There are four books in the series Chill With Chopin, Chill With Debussy, Chill With Mozart and Adagio Chillout each beautifully presented and containing well-known piano solos. They are also packaged in a rather unique style. Each volume comes with a free Naxos CD of tranquil piano and orchestral music, to get you in the mood for practice, to provide context for the piano pieces in the book, or simply to unwind after a busy day! Ideal for teachers and pupils alike Talking about the Chill series, Classic FM and ITV news presenter Katie Derham said Listening to beautiful music is one of lifes great pleasures, and theres certainly no better way to relax than to the sound of dreamy works by composers like Chopin, Debussy or Mozart. But after youve listened, what better than to actually get to grips with the music yourself? I know that the piano music in this book music that reflects the chill out mood of the CD is exactly the kind Ive enjoyed playing all my life. Gorgeous pieces you can really lose yourself in; some quite challenging but none too fiendishly difficult to master.

The Best Of Grade 2 Piano

Musette (Anon); Menuet in D minor (attrib. Bach); Tramps Song (Bartok); Romanze Sonatina in G (attrib. Beethoven); Arabesque Level 1 (Burgmuller); Study in F (Duvernoy); Sad at Heart (Fuchs); In Forest at Night (Goedicke); Timewarp (Gritton); Childs Song (Guilmant); Night Fourney (Gurlitt); Ecossaise in G (Hassler); Allegro (Haydn); Herbie Kunky (Huet); Sticky Toffee (Jacques); Break In (Madden); The Moth (Maikaper); Allegro in B flat (Mozart); Singing Sun (Sculthorpe); Strawberry Flip (Wedgwood).

The Best Of Grade 3 Piano

Anglaise in D minor (Anon); Marche (C.P.E. Bach): Little Prelude in C (Attrib. JS Bach); Dance (Bartk); Sonatina in F (Beethoven); Blues in Two (Cornick); Passepied (Dieupart); Gavotte in G (Handel); Sonata in G (Haydn); Willow (Iles); Clowns (Kabalevsky); A Passing Thought (Maikapar); Study in A Minor (Mayer); Cha-Cha (Merath); Allegro in F (Mozart); Menuet in A Minor (Rameau); The Wild Horseman (Schumann); Tango III (Argentine) (Seiber); Old French Song (Tchaikovsky).

The Best Of Grade 4 Piano

Gavot (Alcock); Minuet in B minor (JS Bach); Soldiers in the Distance (A Benjamin); Ballade (Burgmuller); Lazy Days (Brian Chapple); Sonatina in G (Clementi) The Evening Bell (Granados); Allegro (Haydn); You and Me (Alan Haughton); Waltz Op.97 No.1 (Heller); March No. 1 from Wir bauen eine Stadt (Hindemith); No.1 from Wir bauen eine Stadt; Gigue (Hummel); Toccatina from 30 Pieces for Children (Kabalevsky); No.12 from 30 Pieces for Children; Rondo in F (Mozart); Danse Orientale (Vladimir Ivanovich Rebikov); Minuet (Scarlatti); Knight Rupert from Album for the Young (Schumann); In the Bay (Swinstead).

The Best Of Grade 5 Piano

Gavotte (JS Bach); An Evening In The Village (Bartok); Sonatina In F (Benda); Waltz In D minor (Brahms); La Tarentelle (Burgmuller); Bossa Nova (Cornick); Rondo (Diabelli): New Orleans Nightfall (Gillock); Gigue (Handel); Study In A (Heller); Tomorrow (Jarrett); Novelette (Kabalevsky); Allegro Molto (Kuhlau); Prelude In D Minor (Lyadov); Pajaro Triste (Mompou); Allegro Moderato (Mozart).
The Best Of Grade 1 Piano 0-571-52771-X The Best Of Grade 2 Piano 0-571-52772-8 The Best Of Grade 3 Piano 0-571-52773-6 The Best Of Grade 4 Piano 0-571-52774-4 The Best Of Grade 5 Piano 0-571-52775-2

A wonderful way to chill-out and extend your repertoire whilst youre at it.
Katie Derham, Classic FM presenter and ITV news presenter

5.95 5.95 5.95 6.95 6.95 Adagio Chillout (book/CD) 0-571-52435-4 Chill With Chopin (book/CD) 0-571-52438-9 Chill With Debussy (book/CD) 0-571-52437-0 Chill With Mozart (book/CD) 0-571-52436-2

7.95 7.95 7.95 7.95

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FEATURE

Looking for something a bit different?

Great new ideas for beginners
As every teacher knows, the choice of appropriate repertoire at pre-grade 1 level is an important one. What will help maintain childrens interest and push their technique on at the same time? Sarah Walker broadcaster, pianist and teacher provides one solution with her new series of piano pieces Just For Kids! Carefully selected, edited, graded and fingered for pre-grade 1 pianists, the four books in this series are based on themes that will capture the imaginations of little girls and boys, whether they are into Princesses, Superheros or Magic (and theres also a Christmas book for the winter months!). Featuring well-known Disney and classical tunes as well as new pieces written especially by Sarah Walker, there are also teacher accompaniments to spice up some of the pieces. And the music is complemented with cartoon illustrations to colour in, puzzles and games to help make playing the piano great fun.

Just For Kids: The Princess Piano Book

A Princess Met a Pirate; Beauty and the Beast; Bibbidi- Bobbidi-Boo!; Cradle Song for a Princess; Enchanted Mirror; Getting Ready for a Ball; Kiss the Frog!; La Princesse Marie; Maleficents March; Mulan; Some Day My Prince Will Come; Snow Whites Swing Song; The Stroke of Midnight; There Was a Princess Long Ago; Waltz from Cinderellas Mice; Sleeping Beauty Waltz.
The Princess Piano Book 0-571-52857-0

Just For Kids: The Magic Piano Book

A Whole New World (Aladdin); Clair de Lune; Eerie Adventure; Goblins Campfire; Hedwigs Theme (Harry Potter); Magic Crystal; Merlins Incantation; Queen of the Night (The Magic Flute); Scooby Doo Theme; The Sorcerers Apprentice; Such a Lazy Wizard; Supercalifragilisticexpealidocious (Mary Poppins); Were Off to See the Wizard (The Wizard of Oz).
The Magic Piano Book 0-571-52860-0 6.95

6.95

Just For Kids: The Superhero Piano Book

Batman Theme; Captain Xenons Ingerlactic Mystery Tour; James Bond Theme; Fanfare for Hercules; Go the Distance (Hercules); Heart of a Hero; I Just Cant Wait to be King (The Lion King); March of the Toreadors; Ready for Action; See the Conquering Hero; Star Wars Theme; Superman Theme; To the Rescue!; Turpin Hero, Zorros Escape.
The Superhero Piano Book 0-571-52858-9

Just For Kids: The Christmas Piano Book

Away in a Manger; Frosty the Snowman; Good King Wenceslas; Hark! The Herald Angels Sing; The Holly and the Ivy; Jingle Bells; Let it Snow! Let it Snow! Let it Snow!; Little Donkey; The Little Drummer Boy; Marys Boy Child; Rudolph the Red-nosed Reindeer; Santa Claus is Coming to Town; Walking in the Air; We Three Kings; We Wish You a Merry Christmas; When Santa Got Stuck Up the Chimney; While Shepherds Watched.
The Christmas Piano Book 0-571-52859-7

My pupils were very excited to try arrangements of the themes from Batman and the James Bond and Superman films and this delight has pushed their technique on. This book will do much to encourage boys to play the piano and keep their interest at this vital pre-Grade 1 level.
The Superhero Piano Book (Music Teacher, February 2008)

PUBLICATIONS

6.95

6.95

10

SAMPLE

The Princess Piano Book

SA M PL E
2007 by Faber Music Ltd This piece is from Just For Kids: The Princess Piano Book (0-571-52857-0), see page 10 for further information

11

SAMPLE

The Magic Piano Book Puzzle

SA M PL E
2007 by Faber Music Ltd This puzzle is from Just For Kids: The Magic Piano Book (0-571-52860-0), see page 10 for further information

Twinkle Test

This test is from The Jazz Piano Master, see pages 20-21

12

SAMPLE

Simply Classics

SA M PL E
2007 by Faber Music Ltd This music is copyright. Photocopying is ILLEGAL and is THEFT. This piece is from Simply Classics Grades 23 (0-571-52552-0), see pages 16 & 17 for further information

13

SAMPLE

14

Me and My Piano

This piece is from Me and My Piano, see pages 4 & 5 for further information

FEATURE

Teaching beginners?
Paul Harris is here to help!
Paul Harris is one of the UKs most respected music educationalists. He has over 450 publications to his name including the highlyacclaimed Improve Your Sight-reading!, Improve Your Scales! and Improve Your Practice! series. Paul writes frequently on music education for many national and international publications and is in great demand as a workshop and seminar leader in the UK, USA and the Far East. Paul now turns his expertise to teaching beginners.

Teaching beginners is a huge responsibility and challenge, but also reaps enormous rewards. Today there are a host of colourful tutors to choose from but none tell teachers how to teach beginners .. A new book from esteemed music educationalist Paul Harris now helps teachers approach this area of their work with thought, inspiration and success! Energising and inspirational, Teaching Beginners is a must have handbook for all instrumental and singing teachers. Distilled from years of personal experience and research, it looks at all the issues concerning the teaching of beginners, outlining a series of principles, ideas and strategies upon which the best foundations can be laid. Topics covered include how to approach the first lesson, practice ideas for beginners, introducing the tutor book and notation, taking stock and moving forward, inheriting pupils, improvisation and composition for beginners. Teaching Beginners is the ideal companion to Pauls best-selling Improve Your Teaching! book. Inspirational and motivating, these books are guaranteed to challenge, affirm and energise every teachers work!

Paul Harris is one of the great reflective practitioners of our time. His fascination with the teaching process is truly inspirational. This book will surely revolutionise the teaching of music at all levels
(Colin Lawson MA (Oxon), MA, PhD, DMus, FRCM, FLCM, Director, Royal College of Music)

Paul Harris inspirational self-motivation is about asking those questions which revise and refine the notion of what being a good teacher really is
(Professor Jonathan Freeman-Attwood, Vice-Principal & Principal-Elect, Royal Academy of Music)
Teaching Beginners 0-571-53175-X Improve your Teaching! 0-571-52534-2 8.95

8.95

15

FEATURE

Discovering The Classics

Expanding the repertoire
Anthony Williams (Head of Keyboard and Instrumental Studies at Radley College) and composer/arranger Peter Gritton explain the story behind the recent Simply Classics series
Ask one of your young piano pupils to sing you a well-known tune. Perhaps once they have got over the initial panic of having to open their mouth at all, you might get a snippet of Madonna or the Arctic Monkeys, but I suspect your jaw would hit the floor if they burst into song with the theme from the Ride of the Valkyries or Dvor ks Seventh Symphony!. But an unexpected phone call from the mother of a pupil at Radley got Anthony Williams thinking... Her son was not a musician; in fact she had never heard him sing, so she was amazed one day to hear him join in with Gloria from the Nelson Mass on Classic FM, in full vocal technicolour! Amazed at what seemed like the discovery of a musical genius, she asked him about the piece, to which he casually replied that he had done that one at School and loved it! It transpired that Radleys Head of Chapel Music had arranged the piece for the whole school to sing. The experience of singing a work that this pupil may otherwise never have encountered, and his obvious enthusiasm for the Mass, raised in my mind some interesting questions regarding young pianists and their possibly equally narrow experience of music explains Anthony. For those not playing an orchestral instrument or singing in a choir, their exposure to classical music might be limited to the small amount of easy piano literature rarely great or life-changing works. Why is it that pianists are not encouraged to play arrangements of great classical works for orchestra, famous chamber music or even folk songs? Why shouldnt they be introduced to Beethoven Symphonies, Haydn Quartets or Mozart Operas by virtue of piano arrangements? I am privileged to be involved in the selection procedure for the ABRSM piano exam syllabus, and thought that this would be the perfect place to start the campaign for arrangements to be used in normal teaching practice. So I was delighted when the Associated Board enthusiastically grasped the nettle and encouraged quality arrangements to be included in their piano syllabus from 2009. Some of these arrangements have been taken from Faber Musics new series Simply Classics three volumes of arrangements by Peter Gritton. Dvor ks Cavatina can be found in the new Grade 1 syllabus, Morleys Maying is in the Grade 3 selected examination pieces volume, and the fourth movement of Beethovens Symphony No.1 is selected at Grade 4. Peter Gritton takes up the story. My aim was to provide musically fulfilling repertoire that complements what already exists for the young pianist. It is certainly an antidote to the plethora of jazzy pieces available in todays marketplace, which of course have their place, but cannot provide all the necessary supplementary vitamins!. From madrigal to symphony, the pieces have been drawn from a wide range of genres. Each volume displays a cross-section of music from different eras, from Baroque giants to Classical and Romantic tunes most of us know well enough to whistle, such as Mozarts Eine Kleine Nachtmusik (first movement) and Delibess Lakm (duet). There is a diverse representation of 20th century music from Elgars Enigma and Pomp and Circumstance to Gershwins Porgy and Bess and arrangements of music written before the invention of the piano (Monteverdi Vespers Fanfare). Each volume features substantial variation in terms of character, speeds, technical and musical demands and each volume has been compiled according to an approximate standard (Grades 0-1, 2-3 and 4-5). The arrangements have been prepared to be accessible as piano pieces in their own right, rather than faithful academic adaptations (for example the part-writing in Allegris Miserere has been simplified to make it more pianistic but without losing the core effect of the source material). One of my main intentions is to enable pupils to develop and experiment with a range of expressive colours, for as we all know, the power of the piano to emulate orchestral sounds is extraordinary. Through arrangements, the piano has been and will continue to be the perfect medium to be (literally) hands-on with great milestones in Western music. Anthony agrees. Perhaps these arrangements will encourage pupils to hear the original either (either in concert or recording) and these young pupils could become the nucleus of audiences for the future. Do not be surprised therefore if, in a few years time, your piano pupils burst into full song to the opening theme from Tchaikovskys Fifth Symphony or the Allegri Misereri; in fact be proud, and lets hope that the arrangements will be the opening of another important door into inspiring a lifelong love of great Classical repertoire.

Lets hope that the arrangements will be the opening of another important door into inspiring a lifelong love of great Classical repertoire.
Anthony Williams (Head of Keyboard and Instrumental Studies at Radley College)

16

PUBLICATIONS

FEATURE

Grades 01
Passacaglia (JS Bach); Rule, Britannia! (Arne); Violin Concerto (Beethoven); Symphony No.1 (Brahms); Promenade (Mussorgsky); Siegfrieds Horn Call (Wagner); Toreador Song (Bizet); Lullaby (Brahms); Polovtsian Dance (Borodin); The Trout (Schubert); Cavatina (Dvork); New World Symphony (Dvor k); Overture to Music for the Royal Fireworks (Handel); Music for the Royal Fireworks Minuet No.2 (Handel); The Surprise Symphony (Haydn); Rosamunde (Schubert); Fanfare from LOrfeo (Monteverdi); La Donna Mobile (Verdi); Eine Kleine Nachtmusik (Mozart); Overture to William Tell (Rossini).

Exploring new genres

Simply classics and other arrangements
The new Associated Board Piano Syllabus for 20092010 is published in July 2008 and takes effect from 1 January 2009. The choice of set pieces has been refreshed to include music from many different countries and genres, and the scale and sight-reading requirements have been updated for all exams taken from 2009 onwards.
One of the most significant changes to the syllabus is the inclusion of arrangements in the lower grades, so that movements from Classical symphonies, suites and concertos, sit side by side with popular music.This widens repertoire choices at the lower grades, and more importantly introduces young pianists to the wider world of other non-pianistic genres. Reflecting this change, new to the syllabus from Faber Music is the Simply Classics series (with Dvor ks Cavatina No.1 from Miniatures selected on Grade 1 and the fourth movement from Beethovens Symphony No.1 in C, Op. 21 selected on Grade 4) as well as Morleys Maying included in the Grade 3 Selected Examination Pieces volume. Kabalevskys My Stubborn Little Brother (from 35 Pieces for Piano) and Beethovens Allemande No.2, both published in John Lenehans Keynotes (Grades 12 volume) are selected on Grades 1 and 2 respectively. Continuing the expanded range of genres covered by the syllabus, Pam Wedgwoods arrangement of Autumn (from Vivaldis The Four Seasons) in It's Never Too Late to Play Piano is published in the Grade 1 Selected Piano Examination Pieces book, Elissa Milnes Mozzie from Easy Little Peppers at Grade 2 and Joanna MacGregors Lowside Blues from Unbeaten Tracks at Grade 7.

Grades 23
In the Hall of the Mountain King (Grieg); Sheep May Safely Graze (JS Bach); Wolframs Song (Wagner); The Elephant (Saint-Sans); Now is the Month of Maying (Morley); Come, Ye Sons of Art (Purcell); Overture to Hansel and Gretel (Humperdinck); The Can Can (Offenbach); Enigma theme (Elgar); St Anthony Chorale (Brahms); Policemans Song (Sullivan); Spring (Vivaldi); The Wedding March (Mendelssohn); The Flower Duet (Delibes); Spartacus (Khachaturian); Air from Water Music (Handel); The Creation (Haydn); The Birdcatcher (Mozart); Minuet (Beethoven); Symphony No.1 (Mahler); Dance of the Sugar Plum Fairy (Tchaikovsky).

Grades 45
Waltz (Brahms); Symphony No.6 Pastoral (Beethoven); Symphony No.1 (Beethoven); Morning mood (Grieg); Symphony No.1 Spring (Schumann); A German Requiem (Brahms); Symphony No.39 (Mozart); Symphony No.5 (Tchaikovsky); Jupiter (Holst); Badinerie (JS Bach); Miserere (Allegri); Pomp and Circumstance (Elgar); Symphony No.101 The Clock (Haydn); Porgy and Bess (Gershwin).
Simply Classics Grades 01 0-571-52551-2 Simply Classics Grades 23 0-571-52552-0 Simply Classics Grades 45 0-571-52553-9

5.95

5.95

5.95

Faber Music Publications selected on the ABRSM Piano Syllabus Keynotes 0-571-52320-X Simply Classics 0-571-52551-2 0-571-52553-9 Grades 12 Grades 01 Grades 45 5.95 5.95 5.95

Romantic Piano Repertoire Level 1 0-571-52905-4 Grade 7 9.95 Meet George Gershwin At The Keyboard 0-571-52677-2 Grade 8 8.95

17

FEATURE

Its All In the Arrangement!

Pam Wedgwood is recognised as one of the most successful composers of popular repertoire for performers young and old. In her 61st year, she is still as prolific as ever producing several new volumes of original repertoire, not to mention fitting in a cycling trip around India. And with Faber Musics acquisition of International Music Publications in 2005, bringing access to Warner Chappell and EMIs vast catalogues of pop and jazz copyrights, Pam is turning her hand more and more to arranging. Leigh Rumsey caught up with her to ask about the arranging process

Pam Wedgwood has a gift for arranging, so that even the simplest of arrangements are satisfying to play, motivating and above all .... sound great
(P Larkins, Piano Teacher, London)

LR: The new Up-Grade Jazz! books feature jazz classics by the great American songwriters Gershwin and Cole Porter, as well as Disney hits in a jazzy style. Up-Grade Pop! is even more diverse, with Robbie Williamss Angels, Queens Another One Bites the Dust and James Blunts Youre beautiful. How do you go about choosing which songs to arrange? PW: First and foremost, they have to be songs that I like! I am much more familiar with the jazz genre than modern pop songs, however I have enjoyed getting to know this genre too. I always listen to the song first on Itunes, and my sons, Olly and Sam (who are both musicians) have given me useful suggestions. You have to be quite careful in the choice of song, as some pop songs dont really work when they are simplified, as they tend to rely more on the vocals to provide interest rather than the harmony. With jazz theres the opposite problem, that often the harmony is quite complex. And of course theres the copyright clearance aspect to take into account too. LR: Once youve chosen which songs to include, how easy is it to arrange them for piano? PW: The Grade 0-1 books were particularly tricky, as you can imagine! The choice of repertoire is really determined by the difficulty level here. You only have a very small range of notes to play with, and single notes in each hand (though the odd two-note chord does creep in!). With all my arrangements in After Hours Jazz and Its Never Too Late to Play Jazz too its about creating a balance between what the original composer intended, and putting my own mark on the piece.

LR: Youre obviously most well-known by piano teachers and pupils as a composer, and have also recently published another volume in the Its Never Too Late series, Its Never Too Late to Play Pam Wedgwood a book of your original pieces. Do you enjoy arranging as much as composing? Had you done much arranging in the past? PW: As a French Horn player I had done some arranging for wind ensembles, and the odd piece for a piano pupil, but otherwise no! The arranging process is quite challenging when youre used to being less constrained musically. I do find I have to rein myself in sometimes, if I stray too far from the original song! I have to be in the right mindset for arranging its more of a technical challenge for me. The enjoyment tends to come at the end, when I try it out on a pupil and find that it really works. At first I was worried that concentrating on arranging would limit my creative skills when it came to composing, but it hasnt proven a problem so far! Im lucky that I can intersperse my composing and arranging work, for variety. LR: How can arrangements be useful in the teaching process? How do you find pupils respond to playing pieces they know? PW: Providing repertoire that pupils enjoy is the key to maintaining their enthusiasm, and therefore their improvement. So arrangements of tunes that they know are great for this, as the stimulus comes from them. They can often overcome tricky technical issues in this way too. I had a pupil who was desperate to play Reach by S Club 7 (from Up-Grade! Pop Grade 3-4), and even though it was beyond her usual capability, she managed to learn it perfectly!

18

PUBLICATIONS

New publications by Pam Wedgwood

The multi-talented composer, arranger, teacher and performer Pam Wedgwood has written and collaborated on more than 100 books. Her piano books, including the best-selling Jazzin About and Up-Grade! series are now a staple part of many young pianists repertoire and are frequently set on exam, festival and contest syllabuses. Pam has recently achieved a remarkable milestone by clocking up her half-millionth sale. Still as prolific as ever, we take a look at her latest publications.
Its now over 15 years since Pam Wedgwood hit the British music scene with what has become one of the most durable and successful series, Jazzin About and Up-Grade!. These graded pieces were designed to give pupils a break from the classics, providing an introduction to a number of musical styles with cool syncopation, funky riffs and smooth, stylish tunes whilst still supporting and maintaining good keyboard technique. Fun additions to the popular Up-Grade! series, Up-Grade! Jazz and Up-Grade Pop! are jam-packed with well-loved hits in cool new arrangements. Specially selected and arranged for the pianist looking for something to bridge the gap between grades, the books also feature Pams own specially written pieces. Pams recreational series of mood music After Hours now takes in the smooth sounds of jazz, so you can relax with the lush harmonies and laid-back melodies of your favourite jazz standards. After Hours Jazz features classics from Gershwin, Porter, Mancini and more, plus some great original works, all arranged for the intermediate pianist to enjoy. Her ground-breaking tutor Its Never Too Late To Play Piano gives adults the opportunity to learn the piano with a method devised especially for them. It has quickly become a best-seller, due to its easy-tofollow approach, irresistible music, fascinating information and interactive CD all designed to make learning fun! The series now extends with a range of repertoire books including the new Its Never Too Late To Play Showtunes and Its Never Too Late To Play Pam Wedgwood. The Showtunes book contains pieces that are suitable for those who have been learning for about a year, or have completed the tutor. Fun to play and gently progressive, the pieces will extend players technique gradually through tunes they love to play including Grease, Chicago, Porgy and Bess, My Fair Lady and many more.

After Hours Jazz

After Hours Jazz 1 Piano 0-571-52908-9 After Hours Jazz 2 Piano 0-571-52909-7 7.50 7.50

Up-Grade Jazz!
Up-Grade Jazz! Piano Grades 01 0-571-52476-1 Up-Grade Jazz! Piano Grades 12 0-571-52477-X Up-Grade Jazz! Piano Grades 23 0-571-53122-9 Up-Grade Jazz! Piano Grades 34 0-571-53123-7 6.95 6.95 6.95 6.95

Up-Grade Pop!
Up-Grade Pop! Piano Grades 01 0-571-52474-5 Up-Grade Pop! Piano Grades 12 0-571-52475-3 Up-Grade Pop! Piano Grades 23 0-571-53124-5 Up-Grade Pop! Piano Grades 34 0-571-53125-3 6.95 6.95 6.95 6.95

Its Never Too Late...

Its Never Too Late To Play Piano book/CD 0-571-52070-7 Its Never Too Late To Play Jazz book/CD 0-571-52714-0 Its Never Too Late To Play Classics 0-571-52651-9 Its Never Too Late To Play Christmas 0-571-52652-7 Its Never Too Late To Play Showtunes 0-571-53120-2 Its Never Too Late To Play Pam Wedgwood 0-571-52984-4 Its Never Too Late To Play Blues book/CD 0-571-53208-X 9.95 9.95 7.95 7.95 7.95 7.95 9.95

19

FEATURE

The Jazz Piano Player

Jazz chords explained
John Kember is a composer, arranger, music teacher and former ABRSM examiner. His many publications range through latin, jazz and pop music to classical and baroque, for a range of instruments and abilities from solo piano to string quartet. He is well known for his imaginative approach to teaching jazz technique, through publications such as The Jazz Piano Player and Jazz Piano Studies (formerly Progressive Jazz Studies). Here he offers some advice for aspiring jazz pianists
I remember the first time I volunteered to play in a band. Considering myself a competent pianist, I was totally lost as the music put in front of me showed no recognisable notation, just a few rhythmic suggestions and the chords to play using just the symbols. Help! To aid aspiring jazz pianists, whether soloists, accompanists or in an ensemble, I therefore came up with the idea for The Jazz Piano Player. Each of these initial two volumes, Stormy Weather and Autumn Leaves include 16 classic jazz standards, presented in two different formats. The first version of each song includes the melody, lyrics and basic chord structure, ideal for improvisation. The second version is a full arrangement for piano solo, suitable for intermediate level pianists. By learning these chords the sounds will become familiar, the chords more readily understood and the shapes will begin to lie more comfortably under the hands. All the songs are in their standard keys, enabling pianists to play with other jazz musicians.

Where to start?
For a first approach most students with a basic awareness of chords and arpeggios will figure out the notes required for a simple 8-chord sequence in C major. C - G - Am - Em - F - C - F - G (etc.) And may well interpret as a series of triads in the right hand, with the bass note in the left not altogether musical and probably breaking most rules of harmony! But given the advice to move the chord on contrary motion to the movement of the bass line it may become more acceptable:

But what the student needs to see is the hidden, smooth (stepwise) movement the sequence offers.

The sequence may well be recognised now and demonstrates the art and skill required to make musical sense of the symbols. It involves learning to voice the chords and to link them as the composer intended, but while offering the player freedom to interpret in their own way similar to how the figured bass gave independence to the continuo player. The jazz pianist needs to be able to negotiate their way through a sequence of seemingly unrelated chords as smoothly as possible and with minimum movements of upper parts and in doing so find the often chromatic line too.

First steps
Among the first sequences to master is the sequence of 7ths. These can be found in songs such as: Autumn Leaves

This sequence can also be found in the middle 8 of Try to remember (Harvey Schmidt); Theres a small hotel (Richard Rodgers) and All the things you are (Jerome Kern). The diminished 7th is frequently used as part of an ascending or descending chromatic bass line, often between a root and 1st inversion chords.

20

FEATURE

Ascending: Stormy Weather

The Major 7th. As the name implies the 7th would be played as the 7th in that major key. Therefore Amaj7 would imply a G# but A7 a Gd best thought of as a dominant 7th in the key of D. Similarly E maj7 would imply a Dd and E 7 a D .

A chord which occurs frequently can cause some confusion but is much easier to interpret than it looks is the minor 7th chord with a flattened 5th. But Bm7 5 is simply Dm/B, Em7 5 = Gm/E and F#m7 5 = Am/F#

The 9th gives added richness and crunch to a chord. G9 would generally imply both the 7th and the 9th, and like the 7th can be major of minor whole tone (or 2nd) above the root, or minor 2nd (semitone) above the root. These can also be indicated as #9 or 9. The addition of the 9th alone makes a good finishing chord.

The 11th, used less often and then usually omitting the 3rd of the chord to avoid clashing, makes a useful variation to the final cadence.

The 13th is sometimes indicated and more readily understood as G76 the 13th above the root being the same as the 6th. It can also be interpreted as Fmaj7/G by omitting the 3rd and 5th and adding 7th, 9th, 11th and 13th. Which to use depends on choice, phrase and preceding chords.

Are you ready to take the Twinkle Test?

Turn to p12 and test your knowledge and understanding of chords to harmonise Twinkle, Twinkle Little Star in C major using the chords provided. Enjoy! The Jazz Piano Player: Autumn Leaves 0-571-53157-1 12.95

My Funny Valentine (Richard Rodgers): Autumn Leaves (Prevert/Kosma): September Song (Kurt Weill); Try To Remember (Harvey Schmidt): Nice Work If You Can Get It (George Gershwin); I Could Write A Book (Richard Rodgers); I Didnt Know What Time It Was (Richard Rodgers); Emily (Johnny Mandel): Embraceable You (George Gershwin); Summertime (George Gershwin); Every Time We Say Goodbye (Cole Porter); I Get A Kick Out Of You (Cole Porter); Ive Got It Bad (Duke Ellington); Come Rain Or Come Shine (Harold Arlen);Aint Misbehavin (Fats Waller); Someone To Watch Over Me (George Gershwin)

The Jazz Piano Player: Stormy Weather

0-571-53156-3

12.95

Over The Rainbow (Harold Arlen); My Ship (Kurt Weill); A Foggy Day (George Gershwin); A Small Hotel (Richard Rogers); Just One Of Those Things (Cole Porter); The Shadow Of Your Smile (Johnny Mandel); The Folks Who Live On The Hill (Jerome Kern); Lets Do It (Cole Porter); Ive Got You Under My Skin (Cole Porter); Your Love Is Here To Stay (George Gershwin); The Very Thought Of You (Ray Noble); All The Things You Are (Jerome Kern); Ive Got The World On A String (Harold Arlen); They Cant Take That Away From Me (George Gershwin); Laura (David Raksin); Stormy Weather (Harold Arlen)

21

PUBLICATIONS

New and recent publications

The Best Of Grade 3 0-571-52773-6 The Best Of Grade 4 0-571-52774-4 The Best Of Grade 5 0-571-52775-2 5.95 6.95 6.95
(see page 10)

Just for Kids

Arr. Sarah Walker Just for Kids: Christmas Book 0-571-52859-7 Just for Kids: Princess Book 0-571-52857-0 Just for Kids: Superhero Book 0-571-52858-9 Just for Kids: The Magic Piano Book 0-571-52860-0

Its Never Too Late To Play Christmas 0-571-52652-7 7.95 Its Never Too Late To Play Classics 0-571-52651-9 7.95 Its Never Too Late To Play Pam Wedgwood 0-571-52984-4 7.95 Its Never Too Late To Play Showtunes 0-571-53120-2 7.95 Its Never Too Late To Play Blues (book/CD) 0-571-53208-X 9.95

6.95

Up-Grade
6.95 6.95 6.95

(see pages 18 & 19)

Chill With...

(see page 9)

Me And My Piano (New Edition) (see pages 4 & 5)

Fanny Waterman & Marion Harewood September 2008 Me and My Piano. Part 1 (new edition) 0-571-53200-4 5.95 Me and My Piano Part 2 0-571-53201-2 5.95 Me and My Piano Repertoire 0-571-53202-0 5.95 Me and My Piano Duets Book 1 0-571-53203-9 5.95 Me and My Piano Duets Book 2 0-571-53204-7 5.95 Me and My Piano Superscales 0-571-53205-5 5.50 Me and My Piano Animal Magic 0-571-53206-3 5.95

Adagio Chillout (book/CD) 0-571-52435-4 Chill With Chopin (book/CD) 0-571-52438-9 Chill With Debussy (book/CD) 0-571-52437-0 Chill With Mozart (book/CD) 0-571-52436-2

7.95 7.95 7.95 7.95

Improve your teaching!

(see page 15)

Paul Harris Improve Your Practice! Piano Beginners 0-571-52844-9 Teaching Beginners 0-571-53175-X

4.50 8.95

Simply Classics

(see pages 16 & 17)

Pam Wedgwood Up-Grade Christmas! Grades 01 0-571-52953-4 Up-Grade Christmas! Grades 12 0-571-52954-2 Up-Grade Jazz! Grades 01 0-571-52476-1 Up-Grade Jazz! Grades 12 0-571-52477-X Up-Grade Jazz! Grades 23 0-571-53122-9 Up-Grade Jazz! Grades 34 0-571-53123-7 Up-Grade Pop! Grades 01 0-571-52474-5 Up-Grade Pop! Grades 12 0-571-52475-3 Up-Grade Pop! Grades 23 0-571-53124-5 Up-Grade Pop! Grades 34 0-571-53125-3 More Up-Grade! Grades 12 0-571-52420-6 More Up-Grade! Grades 23 0-571-52421-4

6.95 6.95 6.95 6.95 6.95 6.95 6.95 6.95 6.95 6.95 6.95 6.95

Unbeaten Tracks

(see page 6)

Ed. Joanna MacGregor Unbeaten Tracks. Grades 4-6 0-571-52409-5

8.95

Ed. Peter Gritton Simply Classics. Grades 0-1 0-571-52551-2 Simply Classics. Grades 2-3 0-571-52552-0 Simply Classics. Grades 4-5 0-571-52553-9

5.95 5.95 5.95

Jazzin About

(see pages 18 & 19)

Pam Wedgwood Really Easy Jazzin About Studies 0-571-52422-2

7.50

The Jazz Piano Player

(see pages 20 & 21)

Exercises & Sight Reading

(see page 7)

After Hours Jazz

Pam Wedgwood After Hours Jazz 1 0-571-52908-9 After Hours Jazz 2 0-571-52909-7

(see pages 18 & 19)

Ed. Christine Brown Carl Czerny 101 Exercises 0-571-52769-8 Christine Brown Play at Sight 0-571-52506-7

7.50 7.50

6.95 7.95

Arr. John Kember The Jazz Piano Player: Autumn Leaves 0-571-53157-1 12.95 The Jazz Piano Player: Stormy Weather 0-571-53156-3 12.95

Real Repertoire Studies Its Never Too Late (see pages 18 & 19)
Pam Wedgwood Its Never Too Late To Play Piano (book/CD) 0-571-52070-7 9.95 Its Never Too Late To Play Jazz (book/CD) 0-571-52714-0 9.95 Ed. Christine Brown Real Repertoire Studies. Grades 1-3 0-571-53139-3 Real Repertoire Studies. Grades 4-6 0-571-52604-7 Real Repertoire Studies. Grades 6-8 0-571-52605-5

Best of...

(see pages 8 & 9)

Ed. Anthony Williams The Best Of Grade 1 0-571-52771-X The Best Of Grade 2 0-571-52772-8

7.95 7.95 7.95

5.95 5.95

22

MORE INFO

Faber Music: Find out more

Essential Collections
Arr. Richard Harris The Essential Pop Collection 0-571-52505-9 The Essential Jazz Collection 0-571-52780-9 The Essential Film Collection 0-571-52781-7 The Essential Showtunes Collection 0-571-52782-5 The Essential Christmas Collection 0-571-53207-1

The articles and publications listed in this magazine reflect only a small selection of our piano catalogue. For a complete listing please see our website: www.fabermusic.com Web: www.fabermusic.com Visit our website for a complete catalogue search, easy and secure on-line ordering and up to date and comprehensive information on publications, composers, workshops, performances, latest news and much more. Join our mailing list
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Pepperbox Jazz
Elissa Milne Pepperbox Jazz Book 1 0-571-52371-4 Pepperbox Jazz Book 2 0-571-52372-2

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Romantic Piano Repertoire

Ed. Stephen Coombs Romantic Piano Repertoire Level 1 0-571-52905-4 Romantic Piano Repertoire Level 2 0-571-52906-2

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Play
John Kember / Richard Harris Play Broadway (piano/CD) 0-571-52748-5 Play Christmas (piano/CD) 0-571-53155-5 Play Hollywood (piano/CD) 0-571-52826-0 Play Soul (piano/CD) 0-571-52495-8

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Take the Lead

Bumper Take The Lead (book/CD) 0-571-52478-8 12.95

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George Gershwin
Meet George Gershwin At The Keyboard 0-571-52677-2 George Gershwin At The Piano 0-571-52575-X The Best Of Gershwin 0-571-53038-9 Postcode: 8.95 Tel: 4.95 8.95 Email:
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Easy Classics
100 Easy Classics For Piano 0-571-52584-9 12.95

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Everything you need for successful piano teaching and performing

Me and My Piano & Piano Lessons
The worlds favourite tutor and repertoire course from teaching legend, Dame Fanny Waterman

Jazzin About, Up-Grade! & Step It Up!

Cool syncopation, funky riffs and smooth stylish tunes. Take a break from the classics with Pam Wedgwoods graded pieces in contemporary styles

PianoWorld
The magical story-based tutor for kids by the innovative Joanna MacGregor

Keynotes, Faber Piano Collections & Real Repertoire series

Essential repertoire collections. From wellloved standards to undiscovered gems, theres something for everyone!

Jazz Sessions, Jazz Piano Plus One and The Jazz Piano Player
Easy ways into jazz styles and improvisation

Little Peppers
Expertly crafted jazz miniatures that are tiny moments of cool for beginner to intermediate players

Improve your Practice, Scales & Sight-reading!

Practice makes perfect! Top tips no teacher should be without from the leading educationalist Paul Harris

Faber Music publications are available from all good music shops
Faber Music Limited Burnt Mill Elizabeth Way Harlow Essex CM20 2HX Tel: + 44 (0) 1279 828909/29 Fax: + 44 (0) 1279 828990 Marketing@fabermusic.com www.fabermusic.com
07/08